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{{Infobox Korean name
|img=Korea-Taepyeongso-01.jpg
|caption=''Taepyeongso'' players playing in front of the [[Gyeongbokgung]]
|hangul=태평소
|hanja={{linktext|太|平|簫}}
|rr=taepyeongso
|mr=t'aep'yŏngso
}}
[[File:태평소 (1).JPG|thumb|Taepyeongso]]
The '''''taepyeongso''''' ({{Korean|hangul=태평소|lit=big peace wind instrument}}), also called '''''hojok''''', '''''hojeok''''' 호적 號笛/[[wikt:胡|胡]][[wikt:笛|笛]], '''''nallari''''', or '''''saenap''''', [[wikt:嗩|嗩]][[wikt:吶|吶]], is a Korean [[double reed]] [[wind instrument]] in the [[shawm]] or [[oboe]] family. It is possibly descended from the Persian ''[[sorna]]'' and is closely related to the Chinese ''[[suona]]''. It has a conical wooden body made from ''[[Yuzu|yuja]]'' (citron), ''daechu'' ([[jujube]]), or yellow [[mulberry]] wood, with a metal mouthpiece and cup-shaped metal bell. It originated during the [[Goryeo|Goryeo period]] (918–1392).
The loud and piercing sound it produces has kept it confined mostly to [[Korean folk music]] (especially "[[farmer's band music]]") and to [[marching band]]s, the latter performed for royalty in the genre known as ''[[daechwita]]''. It is, however, also used sparingly in other genres, including [[Confucian]], [[Buddhist]] and [[Shamanist]] ritual musics, neo-traditional/fusion music and [[kpop]], included in works such as "[[Lalalay]]" by [[Sunmi]] (2019).
The volume is large and the pitch is high, making it suitable for playing outdoors.<ref>{{Cite web |title=[태평소] |url=https://encykorea.aks.ac.kr/Article/E0059074}}</ref>
Taepyeongso was originally an instrument used in military camps, but after the late Joseon Dynasty, its playing area expanded to include nongak and Buddhist music. In recent years, it is also used as a solo instrument and in original music. Taepyeongso is the only instrument that plays a melody among the instruments used in military music, agricultural music, and Buddhist music.<ref>{{Cite web |title=[한국민족대백과사전, 태평소] |url=https://encykorea.aks.ac.kr/Article/E0059074}}</ref>
==Writings==
===English===
Written sources in English are scarce. The instrument is mentioned and discussed briefly in a number of books, such as those produced by the [[National Center for the Traditional Korean Performing Arts]], which introduce Western readers to Korean music and culture. Nathan Hesselink's ''Pungmul'' (2006) devotes a few paragraphs of background to the instrument, as does Keith Howard's ''Korean Musical Instruments: A Practical Guide'' (1988). Lee Byong-Won's ''Buddhist Music of Korea'' (1987) provides brief analyses of ''taepyeongso'' playing in Buddhist
ceremonial music and dance, as well as some important details about the players.
Maria Seo, in ''Hanyang Gut'' (2002), and Lee Yong-Shik in ''Shaman Ritual Music in Korea'' (2004), provide some context for ''taepyeongso'' playing in shaman rituals. Keith Howard has an interesting, although speculative, discussion on ''daechwita''—royal processional music usually featuring two ''taepyeongso'' in ''Bands, Songs and Shamanistic Rituals'' (1989), and further context for
''taepyeongso'' in court music is provided by Song Kyong-Rin in "Korean Musical Instruments" (in ''Survey of Korean Arts: Traditional Music'', 1973).
===Korean===
Journal articles include Go Boyun's overview of ''taepyeongso'' playing in ''pungmul'', "풍물놀이를 위한 태평소 지도반" (2002), and an acoustical analysis of ''taepyeongso'' sound production by Byeon Jungbae, et al., entitled (in English) "Extraction of Characteristics Corresponding
to Bell of Taepyeongso Based on Acoustical Analysis" (2007). Master's theses are more numerous. The list includes: ''A study of Buddhist ritual and taepyeongso'' (불교 의식과 태평소에 관한 연구) by Jeong Namgeun in 2001; "영산재에 연주되는 태평소 가락 분석" [analysis of taepyeongso melodies for yeongsanje] by Kim Wonseon (1999); "태평소 시나위 선율분석 연구:박종선류를 중심으로" [analysis of Bak Jongseon's sinawi] by Bak Gyeonghyeon (2004); "태평소와 사물놀이를 위한 관현악: '푸리'" ["puri" for taepyeongso and samulnori] by Hwang Uijong (1991); "한국 전통음악의 연구: 박범훈류 피리산조, 대풍류, 태평소시나위를 중심으로" [study of Korean 15 traditional music: connections between Bak Beomhun's taepyeongso sinawi, piri sanjo, and daepungnyu] by Yu Gyeongsu (1998); "대취타 변천과정에 대한 연구:태평소 선율을 중심으로" [study of the evolution of taepyeongso melody in daechwita] by Kang Yeonggeun (1998); "능게굿거리 선율 비교 분석 :지영희, 최경만 선율을 중심으로" [comparison of Choi Gyeongman's and Ji Yeonghi's neunggye gutgeori] by Kim Seongyeop (2005); and "동 서양의 겹 리드악기의 발전과 역사적 고찰" [development and history of double reed instruments in Korea and the west] by Kim Gi-nam (2004).
==History and classification==
===Names===
The instrument is known by a number of names, including ''taepyeongso'' ([[hanja]]: "great peace pipe"), ''hojeok'' (hanja: "reed instrument of the [[Xianjiang]] people"), ''saenap''/''swenap'' (probably a transliteration of ''[[suona]]'', the Chinese version of the instrument), and ''nallari/nalnari'' (pure Korean; [[onomatopoeic]]). The term ''saenap'' was adopted as the official term for educational use by [[the National Centre for the Traditional Korean Arts]],<ref>Yun 1998, 33</ref> but is currently the least commonly encountered, and [[NCKTPA]]'s website now uses the term ''taepyeongso''. The term ''nallari/nalnari'' tends to be associated with popular entertainment (especially ''[[pungmul]]''), rather than ritual use.
===Classification===
Under the [[Hornbostel-Sachs|Hornbostel-Sachs system of classification]], ''taepyeongso'' would be designated 422.112: an oboe with a conical bore.<ref>Hornbostl and Sachs 1961, 27</ref> Indigenous classification systems in Korea categorize instruments by use/origin and by material. Classification by materials—called ''pal eum'', or "eight tones"—is based on Chinese classification theory, and was used as the basis of the oft-cited 1908 document ''[[Jeungbo munheonbigo]]''.<ref>So 2002, 41</ref> In this document, ''taepyeongso'' is classified as [[bamboo]], perhaps to reflect its similarity to ''[[Piri (instrument)|piri]]'', another [[double reed instrument]]. In later classifications based on ''pal eum'', however, such as Kim Gi-su's ''[[Gugak Ipmun]]'' (1983), ''taepyeongso'' is sometimes reclassified as wood.<ref>So 2002, 47</ref> The remaining six materials in this system are metal, silk, skin, stone, [[gourd]], and clay.<ref>Howard 1995, 16</ref> 'Classification by use' derives from the [[Goryeosa]] ("History of [[Goryeo]]", 1451) in which instruments were categorized according to whether they were used in ''[[aak]]'' (ritual music of Chinese origin), ''[[dangak]]'' (secular music of Chinese origin), and/or ''[[sogak]]'' (indigenous music), with some instruments being included in more than one category. Meanwhile, in the ''[[Akhak gwebeom]]'', the encyclopedic 1493 treatise on music, instruments are similarly classified under the categories ''[[aak]]'', ''[[dangak]]'', and ''[[hyangak]]'' (indigenous music), but here instruments are placed in only one category, suggesting an 'origin'-based scheme rather than a 'use'-based scheme.
In this treatise, noteworthy for containing the earliest written mention of ''taepyeongso'' in Korea, ''taepyeongso'' appears—together with ''[[janggu]]'', ''[[haegeum]]'' (spiked fiddle), ''[[ajaeng]]'' (bowed [[zither]]) and other instruments widely used in Korean folk traditions today—under ''dangak''.<ref>Song 1973, 29</ref>
===Introduction to Korea===
The precise date of the instrument's introduction to Korea is unknown. It seems to not have been included in the historically significant gift of instruments given to the [[Goryeo]]-era [[King Yejeong]] by [[Emperor Huizong of Song]] in 1114, although similar instruments are mentioned, including "twenty oboes...with thin wooden tablets bound with gold and silver threads, red silk mattresses, and purple silk [[hyoppokcha]]".<ref>Song 1980, 145</ref> As indicated, the earliest mention of ''taepyeongso'' is in the 1493 [[Akhak gwebeom]]. The alternative name ''hojeok''—referring to the peoples of the [[Xinjiang]] region of [[Northwest China]]<ref>Howard 1995, 54</ref> from where the instrument is believed to have been introduced to East Asia during the third to fifth centuries<ref>Ben 2002, 113</ref>—suggests a possible route for the instrument's introduction to Korea.
===Distribution===
The common Chinese term for this instrument type (''[[suona]]'') seems, like the ''[[shehnai]]'' of India and the [[Cambodia]]n ''[[sralai]]'', to be a transliteration of ''[[zurna]]'', the [[Persian language|Persian]] ''[[shawm]]''. As suggested above, the Sino-Korean term ''"saenap"'' is likely another variation of this term. In any case, similar instruments have traveled widely from their purported roots in [[Persia]]<ref>Dick 1984, 80–81</ref>—to [[Cuba]], where it is known as the trompeta china and is used in carnival festivities (see [[Trompeta china]]); to [[Spain]], where it is known as the ''[[dulzaina]]'';<ref>Baines 1952, 9</ref> to Kenya, where it is the ''[[bung'o]]'' or ''[[nzumari]]'';<ref>Hyslop 1975, 44</ref> to Croatia, where it is the ''[[sopila]]'', and so on.
The instrument's loud, wailing cry lends itself to outdoor, public occasions, and it tends to be accompanied—in Korea and elsewhere—by drums and other percussion instruments. In [[North Korea]], a new ''jang-saenap'' with oboe-like keys, a mellower sound, and an extended range has been developed. There is at least one CD available in the South of this instrument—Choi Yeong-deok's ''Jang-saenap Dokju-kogjip''—whose tracks include renditions of "Amazing Grace" and "[[Polovetsian Dances]]" by [[Alexander Borodin]].<ref>{{Cite web |url=http://www.maniadb.com/album.asp?a=150012 |title=열풍 |access-date=2009-03-23 |archive-date=2011-07-14 |archive-url=https://web.archive.org/web/20110714031722/http://www.maniadb.com/album.asp?a=150012 |url-status=dead }}</ref>
==Construction==
===Body of instrument===
[[File:Taepyeongso (태평소).jpg|thumb|Taepyeongso]]
There are seven fingerholes on the front, of which only the upper five are
normally used, and one in the back, which the left thumb nearly always covers (the main exception to this is daechwita, where all eight holes are played).
Various types of wood are used, including jujube (Howard 1995, 55), citron wood, yellow mulberry wood (Yun 1998, 33), and ebony. Construction today is standardized, and
most are imported from China, although one might imagine that in the past there
must have been considerable variations in the construction. More expensive
instruments can usually be taken completely apart for cleaning or replacement,
while with cheaper instruments, normally only the bell and tassel can be removed.
===Reeds===
[[File:Dongpallang of the taepyeongso.jpg|thumb|Dongpallang is attached to the end of the Taepyeongso's body and serves to amplify the sound.]]
In the past, reeds were made of the stem of river reeds (galdae) hollowed out,
repeatedly steamed and dried, sanded down and shaped, and bound at the
bottom with thread to hold it firmly to the mouthpiece. Today, most players use
pieces of plastic [[drinking straw]]s.
====Making a reed====
# Cut a piece of drinking straw to fit. The length depends on individual tastes—longer reeds make a lower sound and shorter reeds a higher sound.
# Cut the corners off the top.
# Flatten the reed in order to make two sharp edges.
# Wrap a piece of fine grain sandpaper around the index finger or the instrument
(to make a curved surface).
# Gently sand the flat part of the straw. Count how many strokes you execute on each side to maintain consistency. Test and sand as needed. Generally, a softer, thinner reed will be easier to produce sounds initially, but a certain degree of firmness is required to hit higher notes and manipulate the sound fully.
==Contexts==
The contexts in which the ''taepyeongso'' is used are limited by its high volume. Thus, it is rarely used with voice or other melodic instruments, but frequently with drums, and almost always played outdoors.
===Royal processions===
The Sino-Korean term ''chwita'' literally means "blowing and hitting," while the prefix ''dae-'' means "great". ''Daechwita'' was used in processions—for example—for the "opening and closing of the gate to military headquarters" with a louder band (featuring ''taepyeongso'') preceding the king and a softer one (featuring ''[[Piri (instrument)|piri]]'') following.<ref>Lee 1969, 3</ref>
===Rituals===
===Confucianism===
In Korean Confucian ritual music, the ''taepyeongso'' is used only in three songs—"Somu", "Punung", and "Yeonggwan" (Seo 2002, 206) of the ''Jeongdae-eop'' [praise of the military accomplishments of Korean leaders] section performed by the courtyard ensemble during [[Jongmyo jerye-ak]] (ritual music for Korean ancestors)<ref>So 2002, 43</ref>
===Buddhism===
The ''taepyeongso'' is used to accompany ritual dance as part of the outdoor band called ''jorachi'' or ''gyeongnaechwi'', together with a large gong, cymbals, a barrel drum,<!--which barrel drum?--> and an optional long trumpet and a conch shell.<ref>Lee 1987, 35–37</ref>
===Shamanism===
According to most sources, the ''taepyeongso'' is not a central instrument in [[Korean shamanism|shaman ritual music]]. Maria Seo reports that the ''taepyeongso'' is not a traditional part of ''Hanyang Gut'' (ritual) of [[Seoul]] and is used only in specific situations: "The instrument is often played when several gut are in progress simultaneously. The ''[[Piri (instrument)|piri]]'' player often switches to ''taepyeongso'', producing a louder sound so that his own group of ritual specialists can follow the music better".<ref name="auto">Seo 2002, 130</ref> Seo also mentions "ssang hojeok" (two ''taepyeongso'' played simultaneously),<ref name="auto"/> and the use of seven ''taepyeongso'' played simultaneously during a portion of the ritual in which her informant walked on knife blades.<ref>Seo 2002, 179</ref> Lee Yong-Shik makes similar observations with regards to [[Hwanghae]] region rituals:
{{Blockquote|The use of these instruments (''piri'' and ''taepyeongso'') is limited to large-scale public performances. [[Hwanghae]] shamans tend to avoid the use of these melodic instruments in ritual practice because they think that such use would revise the ritual to festive celebration.}}
<ref>Lee, Yong-Shik 2004, 60.</ref> Lee further points out that the ''taepyeongso'' is not included in the ''samhyeonyukgak'' chamber ensemble used to accompany both shaman rituals and court dances in Seoul and [[Gyeonggi province]].<ref>Lee, Yong-Shik 2004, 61–62</ref>
In the southwest ([[Jeolla province]]), the ''taepyeongso'' is again an optional instrument in the ''sinawi'' ensemble of the southwestern region of Jeolla's shaman ritual.<ref>Pratt 1987, 47</ref><ref>Lee 2004, 62</ref> In the east, the ''taepyeongso'' was reintroduced into, and used frequently by, Kim Seok-chul in ''Donghae-an Byeolsingut'' (east coast purification ritual), but has been discontinued since his passing. In brief, the ''taepyeongso'' is used more as an effect than a core instrument in shaman ritual music, a situation made possible by the fact that the professional musicians who accompany shaman rituals are multi-instrumentalists, able to easily switch from one instrument to another.30<!--What does this number refer to?-->
===''Pungmul'' and associated contexts===
The primary context in which the ''taepyeongso'' is featured is during ''[[pungmul]]'' and other [[Namsadang]] (professional travelling entertainment troupe) activities, such as [[Jultagi|tightrope-walking]] and acrobatics. There is considerable overlap in the repertoire used for ''pungmul''-based ''taepyeongso'' playing with shamanist and [[Buddhist]] ritual
''taepyeongso'' playing—indeed, it is often the same musicians involved.
<!--
<font class="papago-parent"><font class="papago-source" style="display: none;">===''Sanjo'' and "Sinawi"=== A form of ''Taepyeongso sanjo'' (i.e., a virtuosic display of melodies in various modes and rhythmic patterns) was developed by Bang Taejin and transmitted to Kim Seok-Chul.</font>미국에서는 '산조'와 '시나위'가 '태평소'의 형태(즉, 다양한 모드와 리듬 패턴으로 발달된 병음)를 보여 주었다. </font> <font class="papago-parent"><font class="papago-source" style="display: none;">A more developed sanjo, modelled on the sanjo of other Korean instruments and employing a wider variety of modal development than Kim Seok-Chul's sanjo, was recently composed by Jeong Gyeong Jo at the National Institute for Namdo Performing Arts.</font>다른 한국 악기들의 산조를 모델로 하고 김석출의 산조보다 더 다양한 모드를 사용하는 좀 더 발전된 산조가 최근 국립 예술 연구소에서 작곡되었다. </font> <font class="papago-parent"><font class="papago-source" style="display: none;">"Taepyeongso Sinawi" or "Taepyeongso and Samulnori" is another avenue for virtuosic display, normally accompanied by a samulnori ensemble.</font>'태평소'또는'태평소'와 '사물 놀이'는 사물 놀이 앙상블과 함께 일반적으로 시각적 디스플레이를 위한 또 다른 길이다. </font> <font class="papago-parent"><font class="papago-source" style="display: none;">Taepyeongso Sinawi usually uses the southwestern melodic mode (also called sinawi), but may include menari and neunggye melodic content as well.</font>태평소 시나위는 남서쪽의 선율적 방식(시나위라고도 함)을 주로 사용하지만, 메나리와 신계음의 내용도 포함할 수 있습니다.</font>
-->
===New music and fusion===
The ''taepyeongso'' is used frequently on new music and fusion recordings. In these contexts, the ''taepyeongso'' may play Western melodies, newly composed melodies, and/or traditional melodies. The primary uses of the ''taepyeongso'' in such contexts may be categorized as follows:
#as a replacement for Western instruments (usually [[trumpet]]) in Western music-based ensembles;
#in combination with Western instruments in neo-traditional ensembles;
#as orchestral instruments in national music orchestras, such as the KBS Orchestra;
#as one element in a fusion of more than one type of Korean music;
#as a venue for experimental music.
The instrument has been used in contemporary popular music; [[Seo Tai-ji|Seo Tai-ji & Boys]] combined it with [[heavy metal music]] in the 1993 song "Hayeoga." It also plays a central role in Ground Zero's "Consume Red". A 57 minute long drone and experimental rock epic released in 1997.
==Repertoire==
There is considerable overlap within the taepyeongso repertoire among the contexts the described above, with the exception of Confucian Ritual Music. Due to lack of information, North Korean styles are not discussed.
Generally, the repertoire is described in reference to three regional styles: neunggye or gyeongtori (Central Region), Sinawi (Southwestern Region), and Menari (Eastern Region). While these styles were once presumably confined to their respective regions, players today are mostly familiar with each regional style and freely mix (or do not mix) the styles according to personal preference.
Describing these styles in terms of western musical theory is problematic insofar as tunings and formal characteristics differ among individual players. Unlike European art music, the taepyeongso repertoire has traditionally been transmitted directly from teacher to student without aid of written scores, resulting in widely varying interpretations of melodic forms.
===Tones and fingerings===
The modern taepyeongso has eight fingerholes, seven in front and one on the back. Of the seven frontal fingerholes, most styles are played using only the upper five holes, with the hole in the back remaining covered. The instrument is capable of producing two full octaves, but is mostly confined to approximately an octave and a half. The tones that result from blowing the instrument while covering any particular number of fingerholes vary according to the particular construction of the instrument, the reed, and the player's embouchure. Specific terms for notes produced by various combinations of covered/uncovered holes are provided by Korean musical theory, imported and adapted from Chinese musical theory. The western note designations provided below are approximate.
#Upper five frontal fingerholes covered: Im (임,林), approximately B
#Upper four frontal fingerholes covered: Nam (남,南), approximately C
#Upper three frontal fingerholes covered: Mu (무,無), approximately D
#Upper two frontal fingerholes covered: Hwang 황,黃), approximately E
#Upper one frontal fingerhole covered: Tae (태,太), approximately F
#No frontal fingerholes covered: Jung (중,仲) or Go (고), approximately G/A
Upper octave notes share the same names, although they assume different roles and functions from lower octave notes within melodic constructions. Identical or similar tones may be produced with a variety of different fingerings. Different fingerings may be used to produce different timbres; basic fingering patterns may also vary from teacher to teacher, depending on personal habits and preferences.
===Neunggye/Gyeongtori===
The term neunggye is of uncertain meaning and origin. It is used almost exclusively to refer to taepyeongso melodies of the central region and is associated particularly with pungmul contexts. The term gyeongtori is a modern construct consisting of a regional designation ('gyeong', referring to gyeonggi province) and a modern musicological term ('-tori', that is, regional mode). The former term, neunggye, is somewhat nebulous, and may refer to either specific melodies or a general style, while the latter refers only to the regional style, but is mostly confined to academic usage.
Compared with other regional styles, the gyeongtori style has a greater variety of individual melodies, but is more fixed in its formal characteristics. Below are listed the most common gyeongtori melodies for taepyeongso.
====Neunggye Gutgeori====
Neunggye Gutgeori is commonly employed as a beginning piece for new players.
It shares basic melodic and formal characteristics with, and most likely is derived from, the folksong Taepyeongga and the related gyeonggi shaman song Changbutaryeong.
It has a fixed form consisting of three main sections, although this form is sometimes varied.
As the name indicates, it is played to gutgeori jangdan. In general, neunggye melodies feature a descending contour.
====Neunggye Jajinmori====
Neunggye Jajinmori shares some of the important characteristics of Neungye Gutgeori, such as descending melodic lines, a characteristic cadential phrase echoing that of Neunggye Gutgeori, consistent vibrato on Im and Hwang, and an opening phrase emphasizing Jung. Unlike Neunggye Gutgeori, it does not have a fixed form—a melodic cycle may last for anywhere from one to eleven (or more, at least theoretically) rhythmic cycles.
It is played to jajinmori jangdan.
====Giltaryeong/Cheonsubara====
Giltaryeong, or 'road melody', is a short, sixteen beat melody with a fixed form.
It may be played with a variety of different jangdan.
When played with hwimori jangdan, it is commonly referred to as "Neunggye Hwimori", or simply "Hwimori".
Cheonsubara, a melody used by taepyeongso players to accompany Buddhist ceremonial dance, is essentially identical to Giltaryeong.
====Heoteuntaryong====
Heoteun, like 'san' in sanjo, means 'scattered' or 'dispersed'; thus, heoteuntaryeong means 'scattered melody'.
This melody is distinct from other taepyeongso melodies of the gyeonggi region in having Tae, rather than Im or Hwang, as its primary tone.
It has a non-fixed form which can be adapted to a wide range of jangdan, and is a popular vehicle for relatively free improvisation.
====Gutgeori====
This melody, known by its primary accompanying jangdan (even though it may also be adapted to jajinmori jangdan), is a fixed-form melody consisting, like Neunggye Gutgeori, of three main sections.
Here, however, each section is two, rather than four (as in Neunggye Gutgeori), rhythmic cycles in duration.
The melody is associated with shaman rituals, and is often performed together with a wind ensemble called samhyeonyukgak.
====Yeombul/Heoncheonsu====
Yeombul or Yeombultaryeong [song of sutra], is primarily associated with Buddhist ritual music.
It is sometimes performed by ssang hojeok (two taepyeongso played simultaneously in approximate unison).
====Daechwita====
Daechwita was used to accompany state processions during the Joseon dynasty.
It is frequently performed by ssang hojeok, has a fixed form and, unlike most taepyeongso melodies, is rarely played outside of the original context (that is, one is very unlikely to hear it used for pungmul accompaniment, for example).
====Assorted Minyo-derived melodies====
This category includes any number of folksong melodies which may be adapted for taepyeongso in an entertainment context.
The most widely played folksong on taepyeongso is undoubtedly Pungnyeonga, a 'farming' song which asks for a good harvest.
Other melodies in this category include Cheonnyeonmanse, Hangangsutaryeong, Taepyeongga, Yangsando, and Golpaetaryeong, among others.
===Sinawi===
Compared with Neunggye Gutgeori and other gyeong-tori melodies, sinawi features a much more free form of improvisation and, in terms of mood, tends to be associated with sorrow.
According to Lee Bohyeong, the term sinawi is derived from sanoe or sanae, the religious folk music of the Shilla Dynasty (2002, 889).
He further differentiates between several types of sinawi: "the original sinawi, which accompanied shaman chants and dances; the non-ritual sinawi, which was performed solo or in an ensemble; the transitional sinawi, which still maintained its improvisational style but was changing into sanjo with influence from the narrative vocal genre p'ansori; and finally the fixed sinawi, which had formal rhythmic and modal schemes and fixed melodic structure" (890).
Taepyeongso sinawi would seem to fall somewhere between the second and last of these types—a solo, non-ritual form which frequently follows a fixed rhythmic progression.
Melodies based on sinawi are also commonly used to accompany pungmul ensembles.
From Kim Seonghak, "Taepyeongso eumgye iyagi gyemyeonjo (sinawi)":
<blockquote>General comments Neunggye is communal: individuality is controlled. Sinawi, on the other hand, represents personal expression. For example, neunggye is like being a little drunk—one enjoys oneself but remains in control. Sinawi is like being completely wasted and being able to express one's emotion without any inhibition whatsoever.
Neunggye follows the jangdan closely, so it is more accessible to listeners. They think they understand it fully on the first listening and, even though their knowledge is superficial, they don't feel the need to study it more closely. Sinawi, on the other hand, plays with the jangdan, and embarrasses the jangdan.
Sometimes in sinawi, the player will produce a long sigh, and then suddenly yell out. The janggu player has to be careful to not get sucked in by the sinawi melody. Sinawi has a lot of charisma. It is not controlled by the jangdan, but at the same time is able to create a sort of harmony with the jangdan. It has the power to affect people deeply. Normally, sadness on its own is not enjoyable, but when expressed through sinawi, it can be experienced as a sort of happiness. Sinawi can make any emotion pleasurable.
The basic tones of sinawi are Im, Mu, Tae, upper Im, and upper Mu. Lower Jung and Hwang are like seasoning. While improvising, one can occasionally use upper Tae and upper Jung.
{| class="wikitable"
|-
!Tone
!Description
|-
|Im
|Both upper and lower Im are considered to be 'eu-tteum-eum' (tonic note). Usually upper Im functions as the main tonic and lower Im as the cadential tonic. Playing Im clearly in sinawi requires a softer and thinner reed than in neunggye. When approaching lower Im from above, one must calm oneself down emotionally.
|-
|Mu
|Although Mu occupies the second step ascending from lower Im—like Nam in neunggye—the functions of Mu and Nam are completely different. Lower Mu is like a rest stop on the highway—one is glad to arrive, but doesn't want to stay too long. Lower Mu, when it mixes with Hwang and Tae, can produce a variety of emotional effects: excitement, sobbing, tenderness, and so on.
|-
|Tae
|Tae in sinawi is similar to Tae in neunggye: it is exciting and bright, but should be used sparingly. It can be used to turn a sad feeling into a joyful feeling.
|-
|Jung
|Jung in sinawi is a half-step higher than in neunggye. A common mistake for beginners is to not play Jung high enough. Jung in sinawi has a similar role to Nam in neunggye—as a bridge between two adjacent tones.
|-
|Upper Im
|Upper Im appears frequently as it is the tonic note. It is also in the middle, of the instrument's range, so is central in that sense as well.
|-
|Upper Mu
|Upper Mu is like yelling, or like making a confession—an outpouring of total openness and honesty. It is a release of pure emotion. It gives limited pleasure, but it is honest and direct. Upper Mu is completely unlike upper Hwang in neunggye.
|-
|Upper Tae
|rowspan=2|These pitches are extremely rare. Making these high sounds is like making a diamond—it needs time, patience, and a good reed. High Jung is the highest sound that the taepyeongso can make, and is beyond the ability of most people.
|-
|Upper Jung
|}
{{align|right|-translated and summarized from "Taepyeongso eumgye iyagi gyemyeonjo (sinawi)", nd.}}
</blockquote>
===Menari===
Menari-tori is the least played of taepyeongso styles. As with neunggye, there are particular folksong-derived menari-tori melodies—most notably Baetnorae—which can be played on taepyeongso but, like sinawi, menari is used more commonly as a melodic springboard for freer forms of improvisation. Menari's primary characteristic phrase consists of a downwards sequence of tae-hwang-nam. Unlike neunggye and sinawi, the primary tone of menari is tae, while im is only rarely sounded.
==Notable players==
*[[Joseph Celli]]<ref>{{Cite web |last=Parker |first=Michael A. |date=2001-11-01 |title=Bill Cole's Untempered Ensemble: Live in Greenfield, Massachusets November 20, 1999 |url=https://www.allaboutjazz.com/live-in-greenfield-massachusets-november-20-1999-boxholder-records-review-by-michael-a-parker/ |access-date=2025-08-03 |website=[[All About Jazz]] |language=en}}</ref>
*[[Bill Cole (musician)|Bill Cole]]<ref>{{Cite interview |last=Cole |first=Bill |subject-link=Bill Cole (musician) |interviewer=Luke Stewart |title=Interview {{!}} The Un-temperament of Bill Cole |url=https://www.capitalbop.com/interview-the-un-temperament-of-bill-cole/ |work=CapitalBop |date=March 29, 2012}}</ref>
*[[Alan Heyman]] ({{korean|hangul=해의만}})<ref name="KT20140304">{{cite news |last=Seligson |first=Fred Jeremy |date=2014-03-03 |title=Korean music expert Heyman dies at 83 |url=https://www.koreatimes.co.kr/www/news/issues/2014/03/178_152651.html |access-date=2014-03-04 |work=[[The Korea Times]]}}</ref>
*[[Lee Saeng-gang]] ({{korean|hangul=이생강}})<ref>{{Cite web |date=2012-02-08 |title=Master Musician Lee Saeng-gang |url=http://world.kbs.co.kr/service/contents_view.htm?lang=e&menu_cate=culture&id=&board_seq=42505 |access-date=2025-08-03 |website=[[KBS World]] |language=en}}</ref>
*[[Yoon-Ji Lee|Lee Yoon-Ji]] ({{korean|hangul=이윤지}})<ref>{{Cite news |last=Eissenberg |first=Judith |date=2019-10-27 |title=Unforgotten Songs |url=https://www.classical-scene.com/2019/10/27/uncomfortable-songs/ |access-date=2024-11-15 |work=Classical Scene}}</ref>
*[[Jang Sa-ik]] ({{korean|hangul=장사익}})<ref>{{Cite web |last=Yang |first=Sung-jin |date=2011-05-20 |title=Jang Sa-ik: the guy next door with a voice out of this world |url=https://www.koreaherald.com/article/10341238 |access-date=2025-08-03 |website=The Korea Herald |language=en}}</ref>
*[[Kim Seok-chul]] ({{korean|hangul=김석출}})<ref>{{Cite web |date=2012-06-20 |title=Master Musician Kim Seok-chul |url=http://world.kbs.co.kr/service/contents_view.htm?lang=e&menu_cate=culture&id=&board_seq=42715 |access-date=2025-08-03 |website=[[KBS World]] |language=en}}</ref>
==See also==
*[[Korean music]]
*''[[Nongak]]''
*[[Samulnori]]
*[[Traditional Korean musical instruments]]
==Notes and references==
===Footnotes===
{{Reflist|30em}}
===Notations===
*[https://web.archive.org/web/20070312054544/http://ncktpa.go.kr/eng/aboutg/koreanm_win_view.jsp?gugak_id=208 ''NCKTPA Taepyeongso'' page]
*Baines, Anthony. ''Shawms of the Sardana Coblas'', [[The Galpin Society Journal]] 5 (March 1952): 9–16.
*Bak, Gyeong-hyeon. ''Taepyeongso sinawi seonyulbunseok yeon-gu: Bak Jongseonryoreul jungsimeuro'' [Analysis of Bak Jongseon's sinawi]. Master's thesis, [[Dongguk University]], 2004.
*Bak Jong-seon. ''Taepyeongso sinawi'', ''Park Jong-sen A-jaeng Sanjo''. Seoul, Records SRCD 1190, 1994. Compact Disc.
*Ben, Wu. ''Archaeology of Musical Instruments in China''. In [[Garland Encyclopedia of World Music]] Vol. 7, 2002. 105–114.
*Choi, Gyeong-man. ''Neunggyetaryeong, jajinneunggyetaryeong'', Choi Kyungman's Piri Plays. Synnara SYNCD-093/094. Compact Disc.
*Choi In-seo. ''Taepyeongso neunggye''. Korean Traditional Music. [[National Center for Korean Traditional Performing Arts]], n.d. Compact Disc.
*Dick, Alastair. ''The Early History of the Shawm in India''. The Galpin Society Journal 37 (Mar. 1984): 80–98
*[http://hdl.handle.net/2429/1593 ''Francis, Aaron. "Drinking Straws and Shaman Melodies: a Historical and Analytical Study of the Taepyeongso" (Master's Thesis)'']
*Go, Boyun. ''Pungmulnolireul wihan taepyeongso jidoban'' [a study of taepyeongso in pungmul]. Gugakgwa gyoyuk 20 (2002): 193–225.
*Gongmyoung. ''Deep Sea''. Deep Sea. Z-KTL-7139, 2007. Compact Disc.
*Hahn, Man-young. ''Kugak: Studies in Korean Traditional Music''. Seoul: Tamgudang, 1990. 106<!--What does this number indicate?-->
*Heo Yong-eop. ''Master Musician of the shaman and folk music'': Heo Yong-eop Solo Instrumental Album. Hwaeum TOPCD 099, 1996/2006. Compact Disc.
*Hesselink, Nathan, ''Pungmul: South Korean Drumming and Dance'', Chicago: [[University of Chicago Press]], 2006.
*Hornbostel ,Erich M. von, and Curt Sachs. ''Classification of Musical Instruments: Translated from the Original German by Anthony Baines and Klaus P. Wachsmann''. The Galpin Society Journal 14, (Mar. 1961): 3–29.
*Howard, Keith, ''Bands, Songs, and Shamanistic Rituals'': Folk Music in Korean Society 2nd ed.. Seoul: [[Royal Asiatic Society]] (Korea Branch), 1990.
*Howard, Keith, ''Korean Musical Instruments'', Oxford: [[Oxford University Press]], 1995.
*Howard, Keith, ''Korean Musical Instruments: A Practical Guide'', Seoul: Se-Kwang Music Publishing, 1988.
*Hwang, Jun-yeon. ''Modes and Scales of Korean Music''. In ''Hanguk jeontong eumakui akjo'' [A study of modes in Korean traditional music]. Seoul: [[Seoul National University Press]], 2005.
*Hyslop, Graham. Musical Instruments of East Africa: 1 Kenya. Nairobi: Nelson Africa, 1975.
*Kang, Yeonggeun. ''Daechwita byeonceon-gwajeong-e daehan yeongu: taepyeongso seonyul-eul jungsimero'' [A study of the evolution of taepyeongso melody in daechwita]. Master's thesis, Seoul National University, 1998.
*Kim Chanseop. ''Dokjugok-neunggye''. Biseong. Nices SCO 054CSS, 1995. Compact Disc.
*Kim Duk Soo. ''Kwigok''. Spirit of Nature. Nanjang Music TE004-01, 2001. Compact Disc. 107<!--What does this "107" stand for?-->
*Kim Duk Soo Samulnori. ''Utdari pungmulgutgarak''. Gyeoljeongpan. Syannara SYNCCD 115, 1996. Compact Disc.
*Kim, Gi-nam. ''Dung seoyang-ui gyeob rideu-akgi-ui baljeongwa yeoksajeok gochal'' [Development and history of double reed instruments in Korea and the west]. Master's thesis, [[Chungnam University]], 2004).
*Kim Jeomseok. Instrumental Music of Kim Chom Sok. Seoul Records SRCD 1457, n.d. Compact Disc.
*Kim Seokchul. ''Chong''. Donghae-an musok samul. Samsung Music SCO-041CSS, 1994. Compact Disc.
*Kim, Seongyeop. ''Neunggyegutgeori seonyul bigyo bunseok: Ji Yeonghui, Choi Gyeongman seonyul-eul jungsimeuro'' [Comparison of Choi Gyeongman's and Ji Yeonghi's neunggye gutgeori]. Master's thesis, [[Chugye University for the Arts]], 2005.
*Kim Seunghak. ''Taepyeongso eumgye iyagi pyeongjo (neunggye)'' [Discussion of pyeongjo (neunggye) pitches for taepyeongso]. www.café.daum.net (''taepyeongso'') (accessed August 25, 2008).
*Kim Seunghak. ''Taepyeongso eumgye iyagi gyemyeonjo (sinawi)'' [Discussion of gyemyeonjo (sinawi) pitches for taepyeongso]. www.café.daum.net (''taepyeongso'') (accessed August 25, 2008).
*Kim, Wonseon. ''Yeongsanjae-e Yeonjudweneun taepyeongso garak bunseok'' [Analysis of taepyeongso melodies for yeongsanje]. Master's thesis, Dongguk University, 1999.
*Lee, Byong Won. Buddhist Music of Korea. Seoul: Jungeumsa, 1987.
*Lee, Hye-Ku. Essays on Traditional Korean Music. Seoul: Royal Asiatic Society (Korea Branch), 1981.
*Lee, Kang-Sook. ''An Essay on Korean Modes''. Asian Music 9:2 (1978): 41–47.
*Lee Jongdae. ''Taepyeongso and Samulnori''. Art World of Lee Jong-dae's Piri. Jigu TOPCD 060, 2003. Compact Disc.
*Lee Senggang. ''Dokmu—gutgeori (neunggye)/ jajin (neunggye)/ dongsalpuri (taak)/jajin''. Nongak. Samsung Music, 1993. Compact Disc.
*Lee Wol-chool. Anthology of Korean Traditional Music Vol. 1. Seoul: Korean Traditional Music Publication Company, 1969.108<!--What does this "108" stand for?-->
*Lee, Yong-Shik. Shaman Ritual Music of Korea. Seoul: Jimoondung International, 2004.
*Pratt, Keith. Korean Music: Its History and Its Performance. London, Faber Music, 1987.
*Provine, Robert. ''The Treatise on Ceremonial Music (1439) in the Annals of the Korean King Sejong''. [[Ethnomusicology]] 18:1 (Jan. 1974): 1–29.
*Pyoun, Joongbae, Sangjin Cho, Yeonwoo Hong, and Uipil Chong. ''Extraction of Characteristics Corresponding to Bell of Taepyeongso Based on Acoustical Analysis''. Hanguk eumhyanghakhoeji 27:1 (2008): 12–17.
*Seo, Maria. Hanyang Gut: Korean Shaman Ritual Music from Seoul. New York: [[Routledge]], 2002.
*Seo Yongseok. ''Taepyeongso and Samulnori''. Korean Traditional Music. National Center for Korean Traditional Performing Arts, n.d. Compact Disc.
*So, Inhwa. Theoretical Perspectives on Korean Traditional Music: An Introduction. Seoul: National Center for Korean Traditional Performing Arts, 2002.
*Song, Bang-song. Source Readings in Korean Music. Seoul: Korean National Commission for [[UNESCO]], 1980.
*Song, Kyong-Rin. ''Korean Musical Instruments''. In Survey of Korean Arts: Traditional Music, National Academy of Arts, 31–76. Seoul: National Academy of Arts, 1973.
*Yu, Gyeongsu. ''Hanguk jeontongeumakui yeongu: Bak Beomhun-ryu piri-sanjo, daepungnyu, taepyeongso-sinawi-reul jungsimeuro'' [A study of Korean traditional music: connections between Bak Beomhun's taepyeongso sinawi, piri sanjo, and daepungnyu]. Master's thesis, [[National Central University]], 1998.109<!--What does this "109" stand for?-->
*Yun, Myung-won. A Study of Musical Instruments in Korean Traditional Music. Seoul: National Center for Korean Traditional Performing Arts, 1998.
====Korean notations====
* Hwang, Uijong. ''Taepyeongso-wa samulnolireul wihan gwanhyeonak, 'puri''' [''Puri'' for taepyeongso and samulnori]. Master's thesis, [[Busan University]], 1991.
* Jeong, Nam-geun. ''Bulgyo wisikgaw taepyeongso-e gwanhan yeongu'' [A study of Buddhist ritual and taepyeongso]. Master's thesis, Dongguk University, 2001.
{{Double reed}}
{{Authority control}}
[[Category:Korean musical instruments]]
[[Category:Single oboes with conical bore]]
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